Directed by:
Wes CravenScreenplay:
Carl EllsworthCinematography:
Robert D. YeomanComposer:
Marco BeltramiCast:
Rachel McAdams, Cillian Murphy, Brian Cox, Jayma Mays, Angela Paton, Colby Donaldson, Max Kasch, Jack Scalia, Robert Pine, Rand Gamble, Jenny Wade, Kyle Gallner (more)VOD (4)
Plots(1)
On an overnight flight to Miami, an emotionally raw hotel manager finds herself ensnared in a menacing passenger's political assassination plot. (Netflix)
Videos (1)
Reviews (11)
The charismatic main duo and Wes Craven's surprising abundance of good ideas, unfortunately, are hindered by a few inconsistencies and an unnecessarily "indestructible" final chase. Fortunately, this flight doesn't manage to become boring even for a minute, despite the obvious simplicity that it cannot shake off.
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It's a pity, as the potential of this film was much, much greater than the bland result. It was missing only a little to become an imaginative A-list intimate thriller that, while not fully matching, could certainly come close to the quality of Phone Booth. The original idea and quality cast are commendable. Rachel McAdams, and especially Cillian Murphy, raise the film's level by 20%. Up until Lisa's escape from the plane, the film's atmosphere is excellent, and the tension is palpable. However, after that, the screenwriter and director run out of ideas, and the quality plummets like a parachutist without a parachute. The characters' actions lose all logic and credibility. The final showdown in the father's house is just a collection of the most worn-out genre clichés. In Scream, Wes Craven had a lot of fun with them, but here he succumbed to them. I'm sure that parodying the ending was not his intention this time. Overall rating: 60%.
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A lot of value for money. They managed to turn a shoddy script into a solid atmospheric plot, dominated by an outstanding antagonist played by Cillian Murphy, who possesses so much charisma that it's almost pretty, while Rachel McAdams fits in excellently with her adorable pout. As long as we're in the cramped spaces of the airplane, where the actors perform their magic in quick dialogues and psychological battles, it's okay. But as it approaches the end and they disembark from, the barrage of clichés begins and the quality declines. But it’s still at a decent level.
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Although the direction is flawless, there are issues in the script, which in the end didn't avoid unsuccessful variations on classic genre clichés. Still, the director literally chips the tension out of more or less every shot and the work with the limited space of two seats on the plane is masterful and even the universally condemned ending doesn't lack proper gradation. Rachel McAdams sets herself up for a promising career as a pretty face with very developed acting potential, and Cillian Murphy already proved in Batman Begins that behind the face of an innocent-looking nice guy resides a villain of the heaviest caliber. It’s an absolutely minimized thriller from Phone Booth onwards, which would be perfect if it benefited from its originality throughout the entire runtime. Still, as it is, it’s a very above-average spectacle and many of its issues can be forgiven.
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Another hugely emancipated thriller that apologizes for the eighties and nineties, or possibly just for Lars von Trier. Notwithstanding the fatal plan of the main villain, the heroine this time is mainly concerned with humiliating the oppressor rather than killing him, as therapy for the involuntary buttfuck she took three years ago and carries with her in the form of a scar over her breast. Just see if it's not a bit of a disservice to demonstrate the supremacy of female inscrutability over male pragmatic logic by sticking him in the throat with a pen (mightier than the sword) and transitioning from the mode of a tightly-written dialogue thriller on the stage of an airplane seat (where the man has the upper hand) into a B-grade final showdown at a house in the suburbs (where the woman has the upper hand). As an added bonus, most of the female users' ratings are limited to the godliness of Cillian Murphy and his eyes. So I guess I don't know.
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